The Shakespeare Authorship Question is Answered by the Author Himself in his Magnificent Monument of the Sonnets

“But it is in the sonnets that we must look for the true key to the Shakespeare mystery.”

— Louis P. Benezet, Shakspere, Shakespeare and De Vere, 1937

The idea that an ordinary Elizabethan poet, much less William Shakspere of Stratford, could promise “immortal life” to Henry Wriothesley the third earl of Southampton, is absurd. Nor could Shakspere demand of the young but already powerful peer, “Make thee another self for love of me.” The idea that he could have written those words is ridiculous. For starters, Southampton would have run his sword through the author’s guts.

Henry, Lord Southampton, the Prince Tudor (1573-1624)

Of course, many traditional (Stratfordian) commentators have seen and accepted the decisive evidence of Southampton as the so-called Fair Youth of the Sonnets; and that acceptance, in turn, should have led them to the obvious conclusion that the author could not have been the Stratford man and must have been someone else.

Nothing of the sort happened, however, and the reason has to do with the power of unquestioned assumptions to force rational men and women into holding irrational conclusions. Ah, but such is also the case for perhaps the majority of Oxfordians, many of whom have been overwhelmed by vicious taunts and jeers against the so-called Prince Tudor theory that Southampton was the natural son of Oxford and Queen Elizabeth. When these same Oxfordians are so self-righteously censoring Stratfordians such as Stephen Greenblatt and James Shapiro for their emotionally unbalanced attacks on anti-Stratfordians, they fail to notice their own emotionally unbalanced attacks on Oxfordians who are Prince Tudor theorists.

Let us assume for the moment that we agree about Edward de Vere Earl of Oxford writing in the Fair Youth series of Sonnets 1-126 to Southampton, to whom he promises: “Your praise shall still find room/ Even in the eyes of all posterity/ That wear this world out to the ending doom” (55) and also, “Your name from hence immortal life shall have” (81).

Southampton in the Tower (1601-1603)

What does he mean by this?

Many or even most Oxfordians will tell you he simply means that Southampton’s name, on the dedications to him of Venus and Adonis of 1593 and Lucrece of 1594, will live forever because of its unique association with “Shakespeare,” who never dedicated anything to anyone else. But I disagree with this conclusion, for reasons that follow.

In the first place, we are looking at the matter from the vantage point of more than 400 years later, when we can testify to the observable fact that anything connected to “Shakespeare” is immortal; and therefore we think, “Oh, well, he made that promise to Southampton because he knew his written words would live forever.”

I say no — no, that is not what’s going on here. The great author is not merely boasting about his own literary and dramatic works, immortal though they surely are. He’s not just thumping his chest about the projected ability of his poems, plays and sonnets to keep Southampton’s name/life alive in the mouths of men. Whenever the young earl would have read those private promises made to him in the Sonnets, he would not have given a fig for such reasons; that is not the kind of fame he or any nobleman of that time would have valued.

He also would not have valued being immortal because he was physically “fair” or beautiful. Forget about it! And he certainly would not have wanted eternal memory in the eyes of posterity because of any love affairs he had had with either women or men, Oxford included. Forget about it!

What Oxford was promising Southampton in terms of immortality is made absolutely clear in the Sonnets themselves – when he addresses him over and over as a prince or king of royal blood. The matter is secret; it must be buried; but if these private sonnets do manage to survive in the distant future, it will then be known to all that Southampton deserved by blood to be King Henry IX.

This, I submit, is the only possible reason for Oxford’s promise to him of eternal life. I have filled The Monument and also Shakespeare’s Son and His Sonnetswith how Oxford unequivocally and explicitly addresses Southampton as a prince, so here I’ll offer just example with Sonnet 10, Line 11: “Be as thy presence is, gracious and kind” –– which, I contend, can only be addressed to a prince or king.

Here is some of its treatment in The Monument:

Sonnet 10, Line 11:

BE AS THY PRESENCE IS, GRACIOUS AND KIND

“Act according to your stature as a Prince, full of royal grace as the natural son of the Queen.”

PRESENCE = Kingly presence; (“Come I appellant to this princely presence” – Richard II, 1.1. 34; “And sent to warn them to his royal presence” – Richard III, 1.3.39; “Worst in this royal presence may I speak” – Richard II, 4.1.115; “I will avouch’t in presence of the King” – Richard III, 1.3.115; “The tender love I bear your Grace, my lord, makes me most forward in this princely presence” – Richard III, 3.4.63-64; “Loud shouts and salutations from their mouths, even in the presenceof the crowned King; thus did I keep my person fresh and new, my presence, like a robe pontifical, ne’er seen but wondered at” – the King in 1 Henry IV, 3.2.53-57; “What’s he approacheth boldly to our presence?” – King Lewis in 3 Henry VI, 3.3.44)

“So gracious and virtuous a sovereign” –Oxford to Robert Cecil,May 7, 1603

My verse alone had all thy gentle grace,

But now my gracious numbers are decayed Sonnet 79, lines 2-3

KIND = Natural, related by nature, as a child of Elizabeth and the bearer of her blood; (“Belonging to one by birth: lawful, rightful – 1570 … of persons: rightful heir, etc., 1589 – OED); “There she lost a noble and renowned brother, in his love toward her ever most kind and natural” – Measure for Measure, 3.1.218-220; “A little more than kin, and less than kind” – Hamlet, 1.2.65; “Shall kin with kin, and kind with kind, confound” – Richard II, 4.1.141; “Disclaiming here the kindred of the king, and lay aside my high blood’s royalty” – Richard II, 1.1.70-71; “The King is kind” – 1 Henry IV, 4.3.52; “My lord and sovereign, and thy vowed friend, I come, in kindness and unfeigned love, first, to do greetings to thy royal person” – 3 Henry VI, 3.3.50-52

Hank, you may already know that the impresa in the upper right corner of the Southampton Tower portrait of 1603 shows a connection to royalty. It pictures a castle surrounded by a moat with swans swimming in “troubled waters.” The swan is a royal symbol, and it is also mute. I thank Betty Sears for this insight.
Helen Gordon

“When these same Oxfordians are so self-righteously censoring Stratfordians such as Stephen Greenblatt and James Shapiro for their emotionally unbalanced attacks on anti-Stratfordians, they fail to notice their own emotionally unbalanced attacks on Oxfordians who are Prince Tudor theorists.”

Well, I probably should have avoided mention of a deep division within the so-called Oxfordian movement — those of us who believe Oxford was Shakespeare. Within the movement are various hypotheses and theories, related to many subjects, but the so-called Prince Tudor (PT) theory (that Southampton was the natural son of Queen Elizabeth and Oxford, which appears to be expressed in the Sonnets) has caused a rupture, with some of those who don’t like the theory choosing to attack it and its proponents. They will tell you that the Southampton PT theory has been refuted, which is exactly what the orthodox Shakespeare critics tell us about anti-Stratfordians generally and Oxfordians in particular. We have private forums where I have felt a kind of McCarthyism-like atmosphere, a kind of hysteria. I hope this answers you sufficiently. I am not usually an attacker and can’t say that I enjoyed being attacked, either. Thanks for asking.